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In this course, Rich Harrington and Abba Shapiro give beginning photographers a brisk look at using strobe lights in a studio setting—lessons that easily translate to the field and locations, inside and out. Learn why shooting with strobes and continuous lighting makes such a big impact on your photographs, and how to buy a good, affordable starter kit. Rich and Abba also show how to set your gear up, trigger your lights, and make modifications with accessories like reflectors, umbrellas, and soft boxes. Finally, learn how to make the most of what you have in a series of lighting challenges.
I'm super happy with the shot, but I'm really pretty picky so, a lot of times I want to see what each light is doing, and the best way to do that is simply turn off all of the other lights, keep one light on at a time. Take three shots. And take a look at them. So Rich, if you'd be so kind as to turn off the background light and turn off the beauty light. Good. Okay, Valerie, ready? So it's very easy for me to see what that one light is doing by itself. It's a really nice key light.
Let's go around and turn that off and turn on the beauty light, and see what that light's doing. >> Alright, go for it. >> So, this is just the beauty dish. And I can see exactly what that light is doing, what part of her face it's lighting up, what part of the dress is being lit up. And finally, I'm going to look at the background lights, and neither of the front lights will pop. Rich if you could go ahead and turn off the front two lights, and just give me my background light, we'll take our final shot. Thank you Rich, and I want to point out Rich has been moving the pocket wizard to each light so that when I take the shot, only that light is controlled.
And there we see our background light. Now, what's really interesting here is that the background light isn't just lighting up that gray paper. There is some spill onto the side of Valerie's face. And if I wanted to control this, I could go ahead and move this light so that either I highlight her from the back or that I don't highlight her at all and it just hits the background. So there you have it, I've been able to look at each light individually and I love being able to do that because I can see things that I would otherwise missed.
In this case I like the background to be a little more isolated. It's a great technique. I do it all the time, and I think you'll find that it makes your shots that much better.
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